Also searching around it seems like a whole bunch of other OOP titles are in stock. I've got a lot of these already, but anyone got any tips on which ones are worth picking up IE: were actually out of stock and going for ridiculous prices, or are just very good DVD releases that aren't available in comparable editions elsewhere?

Here's an extremely subjective question for you: I own this set, but have never watched it. I will be going to Spain next week, and think I'll have time to fit one of these films in before I go. Which would be the best to put me in a spanish mood and get me excited about the trip?

But aside from that apparently all-important spine number, there's nothing special about Criterion's Carlos Saura edition (which I have, although I paid a tiny fraction of the current going rate) - it's three barebones DVDs in very basic packaging. I don't imagine it was one of their more challenging production jobs!

Ah, but it's NTSC, 24fps, and without PAL-speedup / audio speedup of 4% / a whole semitone. Which is why I sought out the Eclipse set and will be keeping it!

But aside from that apparently all-important spine number, there's nothing special about Criterion's Carlos Saura edition (which I have, although I paid a tiny fraction of the current going rate) - it's three barebones DVDs in very basic packaging. I don't imagine it was one of their more challenging production jobs!

Ah, but it's NTSC, 24fps, and without PAL-speedup / audio speedup of 4% / a whole semitone. Which is why I sought out the Eclipse set and will be keeping it!

And for such musically enriched films that's probably a valid concern for once.

Whatever do you mean? I'm familiar with the source scores for two of the films which only makes me more concerned to hear them 'properly'. Why would familiarity chuck out the importance of hearing the music at the correct pitch and speed?

Whatever do you mean? I'm familiar with the source scores for two of the films which only makes me more concerned to hear them 'properly'. Why would familiarity chuck out the importance of hearing the music at the correct pitch and speed?

Because if I'm not familiar with the source scores, why will it matter to me if they're at a different pitch?

And I doubt that you could detect a 4% speedup by ear without prior warning - you'll encounter far greater variations between recordings by different performers.

For talking I'll admit I don't notice, but for music it is painfully obvious to me. Perhaps it is because I'm more aware of the music or some other cheap trick, but PAL for musically based films strikes me as a death sentence.

For talking I'll admit I don't notice, but for music it is painfully obvious to me. Perhaps it is because I'm more aware of the music or some other cheap trick, but PAL for musically based films strikes me as a death sentence.

Unless of course it's been pitch-corrected or the material originated at 25fps, and we don't know if the former isn't true.

(I'm guessing it isn't, but if I was producing the DVDs myself I'd certainly look into it).

For talking I'll admit I don't notice, but for music it is painfully obvious to me. Perhaps it is because I'm more aware of the music or some other cheap trick, but PAL for musically based films strikes me as a death sentence.

Unless of course it's been pitch-corrected or the material originated at 25fps, and we don't know if the former isn't true.

(I'm guessing it isn't, but if I was producing the DVDs myself I'd certainly look into it).

I find it remarkable that in the general population 1 in 10,000 people have perfect pitch, but in online DVD fora it's more like one in two. Of course, it is supposed to be more common among people with autism. . .